The use of Hyper-Spectral Imaging (HSI) as a diagnostic tool in the field of cultural heritage is of great interest presenting high potentialities. This analysis, in fact, is non-destructive, non-invasive and portable. Furthermore, the possibility to couple hyperspectral data with chemometric techniques allows getting qualitative and/or quantitative information on the nature and physical-chemical characteristics of the investigated materials. A study was carried out to explore the possibilities offered by this approach to identify pigments in paintings. More in detail, six pigments have been selected and they have been then mixed with four different binders and applied to a wood support. The resulting reference samples were acquired by HSI in the SWIR wavelength range (1000-2500 nm). Data were processed adopting a chemometric approach based on the PLS_Toolbox (Eigenvector Research, Inc.) running inside Matlab® (The Mathworks, Inc.). The aim of the study was to verify, according to the information acquired in the investigated wavelength region, the correlation existing between collected spectral signatures and sample characteristics related to the different selected pigments and binders. Results were very good showing as correlations exist. New scenarios can thus be envisaged for analysis, characterization, conservation and restoration of paintings, considering that the developed approach allows to obtain, just "in one shot", information, not only on the type of pigment, but also on the utilized binder and support.

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This paper describes the multi-analytical approach implemented for the study of the oil painting Il Venditore di Cerini made by Antonio Mancini in 1878. The research was carried out to characterize both the original stratigraphy and the alleged non-original varnish on the surface. SEM/EDS analysis showed the presence of pigments already detected in other paintings by Antonio Mancini. Multispectral imaging, DinoLite microscope, and FT-IR ATR spectroscopy revealed significant data regarding the invention of the “graticola” method—a technique implemented by Mancini to respect the proportions of the figures—also proving the presence of an aged layer of non-original shellac on the surface. The yellow/brownish tone of the varnish was hiding the real shapes of the figure, requiring a selective removal of the aged coating. The proposed cleaning systems were chosen among the green chemical alternatives present in the market, aiming at promoting a sustainable development in the Cultural Heritage field. The selection was made according to the Fd parameter of the cleaning systems—which defines the energy from dispersion forces between molecules—in relation to what is defined in the literature as the suitable Fd value for the removal of the shellac. The best-performing green cleaning system proved to be the Polar Varnish Rescue GEL—a gelled acetals mixture developed by YOCOCU APS—for its effectiveness in selectively remove the aged shellac while preserving the integrity of the original stratigraphy.

Most of the artworks constituting the collection of Renaissance statuary of Abatellis Palace in Palermo (Sicily) show evidence of colour layers and fragments of gold foil that probably once covered the whole marble surface. The restoration of some of these statues has allowed to carry out archaeometric studies about the painting technique and to highlight the original materials and inclusion present on the precious marbles by two famous Italian sculptors of the Renaissance, Francesco Laurana and Antonello Gagini. The measurements have been performed in situ through the integrated use of two non‐invasive techniques: visible fluorescence stimulated by ultraviolet light and X‐ray fluorescence. The ultraviolet‐induced fluorescence analysis has provided additional information on the conservation status of marble surfaces by differentiating the pictorial materials and highlighting the presence of gilding and pigment traces through their characteristic fluorescence response. The observation in ultraviolet light has been used as valuable guide for the identification of the significant points to be analysed by X‐ray fluorescence to characterise the original materials. X‐ray fluorescence measurements have cast light about their chemical composition and stratigraphical structure. Pictorial layers were identified: vermilion for red layers, blue pigment based on copper for blue layers and pure gold leaf for gilding layers. Principal component analysis of the data was capable of clustering the different painting materials, discriminating through their chemical content. The results represent an important scientific support both to the hypotheses about the original look of the artworks and to the resolution of restoration and conservation questions still open. Copyright © 2012 John Wiley & Sons, Ltd.

San Nicola in Carcere, one of the minor basilicas in the historical center of Rome, was the location of a wide investigation campaign of the water-related deterioration causes, present in the lower sector of the apse and adjacent pillars, affected by water infiltrations, mould and salt efflorescence. The results obtained identify the presence of water content and related effects mainly on the sides of the apsidal wall. This work focuses on the use of five Non-Destructive Techniques (NDT) and intends to show the gains obtained by integrating widely interdisciplinary methods, namely the Infrared Thermography (IRT), the Unilateral Nuclear Magnetic Resonance (Unilateral NMR), the Acoustic Tomography (AT), the Acoustic Imaging (AI) and the Laser-Induced Fluorescence (LIF). All the techniques contribute to the rapid, non-invasive and early identification of the moisture distribution, while some of them (LIF and AI) also address the determination of some moisture effects. The integrated use of different techniques helps to take the multidisciplinary point of view necessary to formulate an effective restoration intervention based on a sound scientific rationale; nonetheless, it allows to experiment a holistic approach, verifying the potential of a wide range of NDTs available within the context of a restoration yard.